During the 1630s, congregations began to separate from the established Anglican Church forming new autonomous groups. This study examines separatist and Baptist women s writings from this period, as they struggled under the persecution of the religious authorities and under the increasingly strict rules of their congregations. These women s writings could not have been imagined without the proliferation of these new congregations, but, as well as providing a platform for women to publish, these groups imposed their own rules on what women could express in public. Considering separatist and Baptist women as part of their congregations is integral to an understanding of their work, and it is on this that this study focuses. Although their writings relate and analyse their own relationship with God, this is always presented as a sign of the progress of God s people as a whole. Through an analysis organised along doctrinal and congregational lines, this study draws attention to women who have received little or no literary critical (or indeed historical) attention, by considering the genres they utilised as part of their membership. Women writers of conversion narratives, in particular, have not received as much critical attention as more remarkable women who prophesied or who were associated with male writers. The voices of little-studied women like An Collins, Sarah Davy, Deborah Huish, Sara Jones, Susanna Parr, Katherine Sutton, Jane Turner, Anne Venn, the anonymous speaker of Conversion Exemplified and the contributors to the collections of John Rogers and Henry Walker deserve to be heard alongside the reported words of Mary Allein, Anne Harriman, Dorothy Hazzard, and Elizabeth Milbourne, and better known writers such as Anna Trapnel and Agnes Beaumont. The study will also draw on works that are not currently widely available, which have therefore received very little critical attention. Often compared to Deborah, the biblical Mother in Israel (Judges 5:7), women in these gathered churches were instrumental in bringing forth joy to their metaphorical children of Israel, by prophesying ways in which enemies of their congregations would face retribution and by continually strengthening church practices in time for the second coming of Christ. This study explores the various ways in which these mid-seventeenth-century women worked to strengthen their congregations through their writings, believing that they had been divinely inspired to edify those whose practice was wanting, and vindicate rightful walking in his name. During the 1630s, congregations began to separate from the established Anglican Church forming new autonomous groups. This study examines separatist and Baptist women's writings from this period, as they struggled under the persecution of the religious authorities and under the increasingly strict rules of their congregations. These women's writings could not have been imagined without the proliferation of these new congregations, but, as well as providing a platform for women to publish, these groups imposed their own rules on what women could express in public. Considering separatist and Baptist women as part of their congregations is integral to an understanding of their work, and it is on this that this study focuses. Although their writings relate and analyse their own relationship with God, this is always presented as a sign of the progress of God's people as a whole. Through an analysis organised along doctrinal and congregational lines, this study draws attention to women who have received little or no literary critical (or indeed historical) attention, by considering the genres they utilised as part of their membership. Women writers of conversion narratives, in particular, have not received as much critical attention as more 'remarkable' women who prophesied or who were associated with male writers. The voices of little-studied women like An Collins, Sarah Davy, Deborah Huish, Sara Jones, Susanna Parr, Katherine Sutton, Jane Turner, Anne Venn, the anonymous speaker of Conversion Exemplified and the contributors to the collections of John Rogers and Henry Walker deserve to be heard alongside the reported words of Mary Allein, Anne Harriman, Dorothy Hazzard, and Elizabeth Milbourne, and better known writers such as Anna Trapnel and Agnes Beaumont. The study will also draw on works that are not currently widely available, which have therefore received very little critical attention. Often compared to Deborah, the biblical 'Mother in Israel' (Judges 5:7), women in these gathered churches were instrumental in 'bringing forth' joy to their metaphorical children of Israel, by prophesying ways in which enemies of their congregations would face retribution and by continually strengthening church practices in time for the second coming of Christ. This study explores the various ways in which these mid-seventeenth-century women worked to strengthen their congregations through their writings, believing that they had been divinely inspired to edify those whose practice was wanting, and vindicate rightful walking in his name.

Much has been written on the position of the translator; the concept of ‘position’ being understood variously in terms of spatial, ideological, sociological, philosophical, or narratological orientation. The present research project contributes to this body of work through the empirical investigation of translator position as an epistemological function, examining patterns of evidential stance-taking in original vs. translated autobiographies. A defining characteristic of autobiographical writings is a NARRATOR=EXPERIENCER relationship: the narrator has privileged access to the memory from which the narrative is sourced. However, when an autobiography is translated, the connection between the narrator and the source of the narrative – the memory of the experiencer – is interrupted. The translation of an autobiography, then, presents an epistemological paradox: the translator’s first person discursive position is at odds with the evidential basis from which he or she narrates. This research aims to investigate the extent to which the translator’s occupation of the position of an autobiographical ‘I’ is purely nominal or extends to the experiential, asking whether the textual production of a translation reveals distance between the narrator and the autobiographical experiences being narrated – a NARRATOR≠EXPERIENCER relationship – or reveals empathetic identification between the narrator and the author, projecting a NARRATOR=EXPERIENCER relationship. Based on an assumed contrast between the phenomenological and narrative character of memories acquired by first-hand experience vs. memories based on other sources, a framework is developed for the analysis of evidential stance-taking in the narration of autobiographical memories. Focusing on the narration of acts of recollection and descriptions of how recalled experiences ‘seemed’ to the experiencer, patterns of complement choice (e.g. remember –ing vs. remember that) are differentiated on the basis of their construal of memories as being either ‘experiential’ or ‘non-experiential’ in character. Applying the framework to a purpose-built, bi-directional comparable corpus of translated vs. non-translated autobiographies in English and Japanese, the study reveals a tendency towards a less frequent construal of memories from an ‘experiential’ stance, and more frequent construal of memories from an ‘non-experiential’ stance in translated texts in both English and Japanese. However, variation in stance-taking exhibited between the individual texts comprising respective sub-corpora is also in evidence. The findings are interpreted as a manifestation of the NARRATOR≠EXPERIENCER relationship characteristic of translated texts in general, but also as a possible indicator of the influence of variable degrees of translator-author identification on individual translators’ negotiation of position.

This thesis chronicles a journey for which there is no end. The journey is the author's search for authentic curriculum -- teaching and learning built around socially relevant themes, designed through an organic development process, and negotiated in relation to the interests of individual learners and the communities that support them. In struggling to find a "lens" that would allow children to navigate change in an increasingly complicated society, the author shifted her focus from the substantive domain to the perceptual. Influenced by Case's (1995) discourse regarding the nurturing of "global perspectives" in young children, the author identified nine characteristics of a "global/diversity" perspective. Rather than infusing curriculum with more information, teachers would nurture an approach to learning that permits children to suspend judgment, entertain contrary positions, anticipate complexity, and tolerate ambiguity. Through the use of "counter-hegemonic" children's literature the author found she could nurture the "seeds" of alternative perspectives forming a strong foundation for understanding and tolerance in the classroom and beyond. It is important to emphasise that the author had to internalise a "global/diversity perspective" herself in order to nurture it in others through a generative process she refers to as "living curriculum". The research methodology of currere was employed as a means of exorcising the unacknowledged biases, personal contradictions, and divergent influences that have fed the author's identity, and thus necessarily informed her philosophies and actions as an educator. The methodology of autobiography was a critical factor in permitting the author to recognise and take ownership of her own education. Autobiography led her into the tangled garden and compelled her to make sense of its organic cycles. The method of autobiography typically rattles the comfort margins of educational researchers who see it as patronising sentimentality, rather than a rigorous analysis of self-knowledge within contemporary scholarship. It is important that autobiographical researchers demonstrate resonance of their lived experience in scholarly discourse and pedagogy. The author discusses a number of possible criteria that could be used to evaluate autobiographical research - the most important of these being that the work spawns reflection and stirs praxis within the reader. / Education, Faculty of / Language and Literacy Education (LLED), Department of / Graduate

D.Litt. et Phil. / Marguerite Yourcenar was already famous as a writer of historical novels like Mémoires d’Hadrien (1951) and L’Œuvre au Noir (1968), when the first volume of her three-volume autobiography, Le Labyrinthe du Monde, appeared in 1974. Readers expecting to find out at last who Yourcenar really was, were to be disappointed for in Le Labyrinthe du Monde, the author meticulously explores her genealogy but gives very little direct information about herself. The first volume, Souvenirs pieux (1974), is devoted to the genealogy of the maternal branch of Yourcenar’s family. The second, Archives du Nord (1977), deals with her father’s genealogy and the final, unfinished volume, Quoi? L’Eternité, published in 1988 after the author’s death, should according to Yvon Bernier, to whom Yourcenar entrusted the care of her documents in her will, have dealt with her father’s death, with some of her earlier writings and with her own life up to the declaration of the Second World War. As it is, of the 624 pages occupied by Le Labyrinthe du Monde in the Gallimard edition of Yourcenar’s collected Essais et Mémoires, only 20 deal specifically with her early childhood. A further 30, recounting the life of her immediate family before and during the First World War, are interspersed with some information on her life between the ages of 11 and 15. The fact that the autobiographical subject’s own story is largely absent from this text, left students of Yourcenar’s work with the question whether Le Labyrinthe du Monde could still be considered an autobiography. Several articles were published on the subject, but only one detailed study by Simone Proust who explains the unconventional autobiographical form of Yourcenar’s text by linking it to the influence of Buddhism on the author’s thought. The present study pursues the hypothesis that although the author does not tell her own story in detail in a conventionally autobiographical form, she represents herself in several ways. This analysis is carried out in four phases. The first identifies the main theoretical issues regarding the question of self-representation in language which are the subject of an ongoing debate. Secondly, a detailed analysis of self-representation in the three volumes of Le Labyrinthe du Monde is undertaken. Thirdly, possible links between Yourcenar’s autobiography and the rest of her œuvre are explored. The last section is an attempt to situate Yourcenar’s special kind of self-representation within the broader context of some twentieth century trends of thought. The study arrives at the conclusion that although the story of the autobiographical subject is granted such limited space in Le Labyrinthe du Monde, self-representation does take place in an unconventional and oblique way. Marguerite Yourcenar reveals herself in the way she talks about other people, and the selfportrait that takes form in the text gives a privileged position to the artist at work. Le Labyrinthe du Monde in fact illustrates Yourcenar’s belief that her identity is to a large extent determined by her writerly activity, and reflected in the books she wrote.

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The primary goal of this paper is to gain a better understanding of the unreliable narrator as a literary device. Furthermore, I argue that the distance between an author and narrator in realist fiction can be simulated in autobiographical prose. While previous studies have focused mainly on extra- and intertextual incongruities (factual inaccuracies; disparities between two nonfiction texts), the present study attempts to demonstrate that the memoirist can employ unreliable narration intratexually as a rhetorical tool. The paper begins with some examples of how the unreliable narrator is used, interpreted, misused and misinterpreted. The device’s troubled history is examined—Wayne Booth and James Phelan have argued for an encoded strategy on the part of the (implied) author while Tamar Yacobi and Ansgar Nünning have embraced a reader-oriented model—as well as the recent (and in my opinion, inevitable) convergence of the rhetorical and cognitive/constructivist models. Aside from “What is the unreliable narrator,” two questions underlie the present study: 1) Does a fiction writer using homodiegetic narration have an obligation to adhere to formal mimeticism (do we believe it)? 2) Being that unreliable narrators are so prevalent in everyday life, why is the device, in nonfiction, considered almost verboten? Two texts are analyzed for the first question: Fitzgerald’s The Great Gatsby is argued to be a mimetically successful fictive “memoir” penned by a disillusioned, albeit reliable, narrator. Ishiguro’s The Remains of the Day is presented as a synthetically flawless example of unreliable narration, but alas, a mimetic failure. Likewise, two texts are analyzed for the second question: Nick Flynn’s Another Bullshit Night in Suck City is viewed through the lens of overt fiction as a means of depicting uncertainty in autobiography. Similarly, Richard’s Wright’s Black Boy, with its overarching themes of survival and deception, is examined for the narrator’s use of “tall tales.” The critical and commercial success of both books suggests that the unreliable narrator does indeed have a place in autobiography—provided that the device is employed in service of a greater truth.

This study maintains that although Gaspara Stampa's Rime (1554) appears to straddle two popular literary genres-lyric poetry and autobiography-analysis of the Rime within its cultural context demonstrates that while Stampa (1523-1553) used Petrarchan conventions, she also both borrowed and swerved from Giovanni Boccaccio's Elegy of Lady Fiammetta (1334-1337) to imagine a non-Petrarchan narrative of an abandoned woman. In the Renaissance, lyric poetry and autobiography were distinguished not only by their style-prose vs. verse-but, more importantly, by the treatment of their distinctive subject matter. Lyric poetry focused on those emotions involving love, whereas Renaissance autobiography shunned emotions. A comparative analysis of the Rime with the Elegy concludes that the Rime is not a lyric version of Boccaccio's Elegy; however, a consideration of Harold Bloom's "anxiety of influence" demonstrates that although Stampa borrowed the Boccaccian idea of the woman as narrator to tell the story of love and abandonment, she creatively adapted-or, to use Bloom's term, swerved from-Boccaccio's presentation of the abandoned narrator's psychological pain. Instead, Stampa depicts the frustrations and the pain of the narrator whose love is unrequited although her beloved remains nearby.

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“Women’s Celebrity in Canada: Contexts and Memoirs, 1908-2011” is equal parts cultural history and literary analysis. It examines the cultural contexts and conditions that shaped the emergence and development of modern celebrity in English Canada, focusing in particular on the role of mass media and bureaucratic policy in the production, dissemination, and consumption of celebrity by Canadians across the twentieth century. Reading celebrity as a function or mode of being and moving in the public sphere, this project historicizes women’s access to that sphere: it examines how ideological constructions of gender and fame have shaped how women in Canada have been able to access and use the tools and technologies of celebrity, and it argues that these conditions have had an impact on how women represent themselves in public life-writing texts. These celebrity autobiographies, this project demonstrates, not only narrate gendered experiences of celebrity but, in their rhetorical strategies and publication conditions, reveal the cultural climate of being and speaking as a famous woman at different historical junctures. In tracing the trends, tactics, and experiments in self-representation over the century, this project is able to uncover and examine the ideological and cultural pressures exerted on public women to perform particular identities and how these women attempted to manage, contest, and negotiate these conditions. / Dissertation / Doctor of Philosophy (PhD) / "Women's Celebrity in Canada: Contexts and Memoirs, 1908-2011" examines the autobiographies produced by famous Canadian women across the twentieth century. It contextualizes the production of these texts by documenting the conditions under which women cultivated fame in Canada. The autobiographies of these women are read as tools for managing celebrity and their form and content is examined for what they can tell us about the condition of being and speaking as a famous woman at different historical junctures.